THE  TEXTS  OF  SELECTED  ORATORIOS 

By 

HELEN  MOORE 


THESIS 

FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 

IN 

MUSIC 


SCHOOL  OF  MUSIC 

UNIVERSITY  OF  ILLINOIS 
1921 


Digitized  by  the  Internet  Archive 

in  2016 


https://archive.org/details/textsofselectedoOOmoor 


UNIVERSITY  OF  ILLINOIS 


V^\ 


4 

'S 


LU 

C/3 


June  .1.3., i9  2l.... 


■ 

THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 


HELEN  MOORE 

ENTITLED THE  . TEXTS  . OF  . SELECTED.  ORATORIOS 


IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF.BACHELOR  OF  MUSIC  IN  MUSIC  


4r 


BIBLIOGRAPHY 


(1)  Upton:  Standard  Oratorios 

(2)  Spitta:  Life  of  Bach 

(3)  MacFarren:  Analysis  of  Bach  Oratorios 

(4)  Nohl:  Life  of  Joseph  Haydn 

(5)  Erb : Hymns  and  Church  Music 

Groves:  Dictionary  of  Music  and  Musicians 
American  Encyclopedia  of  Music 
Episcopal  Prayer  and  Hymn  Book 


INDEX 


Page 

Introduction 1 

Part  I,  Latin  Hymns 2 

Te  Deum  laudamus  2 

Stabat  Mater 4 

Requiem 5 

Dies  Irae 
Domine  Jesu 
Sanctus 
Agnus  Dei 

Gloria  in  Excels  is 7 

Phos  ilaron 8 

Seven  Last  Words 8 

Part  II,  Oratorios 

The  Christmas  Oratorio 8 

The  St.  Matthew  Passion 11 

The  Creation 12 

The  Seasons 14 

The  Messiah 17 

Elijah 20 

The  Last  Judgment 23 

The  Redemption 25 

Paradise  and  the  Peri 30 

The  Light  of  the  World 32 

The  Prodigal  Son 33 

St.  Peter 38 

The  Rose  of  Sharon 38 


INTRODUCTION 


At  concert  performances  of  oratorio  very  little 
attention  is  either  given  voluntarily  or  attracted  to  the 
librettos  which  in  many  cases  form  a very  important  part  of 
the  whole  performance.  Some  oratorios  are  noted  for  their  poor 
librettos.  However,  this  is  not  true  of  all,  and  it  is  one  of 
the  purposes  of  this  investigation  to  point  out  those  having 
literary  merit.  Oratorios  of  the  earlier  period  in  musical 
history  which  have  lived  down  to  the  present  are  in  most  cases 
settings  of  Bibical  texts  either  wholly  or  in  part.  This  fact 
very  easily  proves  the  very  great  importance  of  suitable  texts, 
and  it  is  due  to  this  fact  that  the  writer  believes  the  modern 
composers  select  a more  carefully  thought-out  libretto  as  a 
medium  of  their  musical  thoughts.  Oratorios  earlier  than  Bach 
had  scarcely  any  literary  importance  apart  from  the  musical  in 
many  cases.  But  as  the  contrapuntal  school  reached  its  height 
and  as  the  classic  school  merged  into  the  romantic  school 
libretti  show  very  plainly  the  influence  of  prevailing  tendencies 
toward  more  interesting  verses  and  poems  which  have  value  in 
themselves . 

It  is  doubtless  true  that  the  beauty  of  song  is 
greatly  enhanced  by  the  beauty  of  text  and  so  an  attempt  will 
be  made  to  point  out  by  means  of  quo tatione, stories  of  libretti, 
authorship  of  the  famous  oratorios  since  and  including  Bach. 

Also  some  space  will  be  devoted  to  the  arranger’s  part  in 
preparing  the  libretto  for  the  composer’s  use. 


Hence  the  primary  purpose  of  this  discussion  will 
deal  with  the  texts  of  oratorios  with  special  reference  to 


' 

, , . ' 


> 


► 


-2 


to  literary  worth  and  authorship.  Secondly,  to  discuss  certain 
traditional  Latin  poems  of  the  liturgy  of  the  Homan  Catholic 
Church  which  have  been  the  medium  of  many  great  masterpieces. 

These  include  the  "Te  Deum,  " the  ’’Requiem  Mass,  " the  "Stabat 
Mater"  and  others. 

If  the  discussion  of  the  origin,  authorship  and  value 
of  these  libretti  and  poem3  stimulates  the  reader  into  an 
investigation  of  the  music  which  has  immortalized  them,  it  is 
no  less  than  a third  and  underlying  purpose  of  this  whole  thesis. 

PART  I 

Hot  a few  composers  have  taken  texts  for  many  of 
their  masterpieces  from  the  liturgy  of  the  Roman  Catholic  Church, 
and  many  of  these  selections  have  become  traditional,  especially 
the  "Te  Deum,"  the  "Requiem,"  and  the  "Stabat  Mater."  Composers 
of  the  past  century  and  earlier  wrote  many  more  "Stabat  Mater" 
and  masses  of  these  kinds  than  those  of  the  twentieth  century 
The  Brahms  "German  Requiem"  (also  the  Verdi  "Manzona  Requiem") 
is  outstanding  as  one  of  the  latest  contributions  of  this  kind 
to  musical  literature.  First  in  order  we  will  consider  these 
Latin  poems  individually,  telling  their  origin  and  authorship. 

"Te  Deum  laudamus"  is  one  of  the  most  popular  of  this  group. 

It  owes  its  origin  to  Nicetas,  Bishop  of  Bemesiana  in  Dacia 
A.  D.  400.  In  the  regular  church  service,  it  has  its  place  as 
a climax  of  the  evening  service  but  is  frequently  being  used 
separately  on  special  occasions  as  a song  of  praise  or 
thanksgiving.  The  poem  contains  in  its  entirety  three  sections: 


. 


» 

- 


. 


. 


-3- 


(a)  recounting  the  praise  of  Trinity  from  "We  Praise  Thee"  (Te 
Deum  Laudamus)  to  "the  Comforter;"  (b)  the  praise  of  Jesus 
Christ  from  "Thou  Art  the  King" --onward  ending  with  two  verses 
of  prayer,  "We  therefore  praise  Thee"  and  "Make  them  to  be 
Numbered;"  (c)  a series  of  versicles  and  responses  like  the 
"sets"  used  elsewhere  in  the  services  of  both  Latin  and  English 
liturgy  beginning  with  "Oh  Lord,  Save  Thy  People."  These 
sections  are  often  used  separately  with  original  music.1 
The  following  is  a complete  translation  of  the  "Te  Deum  laudamus" 
from  the  prayer  book  of  the  English  Lutheran  Church  published 
in  1839. 

"We  praise  Thee,  0 God;  we  acknowledge  Thee  to  be  Lord. 

All  the  earth  doth  worship  Thee,  the  Father  everlasting. 

To  Thee  all  Angels  cry  aloud;  the  Heavens,  and  all  powers  therein, 
To  Thee 2 Cherubin  and  Seraphin  continually  do  cry, 

Holy,  Holy,  Holy,  Lord  God  of  Sabaoth; 

Heaven  and  earth  are  full  of  the  majesty  of  Thy  Glory. 

The  glorious  company  of  the  Apostles  praise  Thee. 

The  goodly  fellowship  of  the  Prophets  praise  Thee. 

The  noble  army  of  martyrs  praise  Thee. 

The  holy  church  thrugh-out  the  world  doth  acknowledge  Thee, 

The  Father  of  an  infinite  majesty; 

Thine  honourable,  true  and  only  Son, 

Also  the  Holy  Ghost,  the  Comforter. 

Thou  art  the  King  of  Glory,  Oh  Christ. 

’*’*  Grove’s  Dictionary  of  Music  and  Musicians. 


\. 


t 


. , 

# 


. 


' 


. 


’ 

■ 

r 

; 


-4- 


Thou  art  the  everlasting  Son  of  the  Father. 

When  Thou  tookst  upon  Thee  to  Deliver  man, 

Thou  didst  not  abhor  the  Virgin’s  womb. 

When  Thou  hadst  overcome  the  sharpness  of  death 

Thou  didst  open  the  Kingdom  of  Heav’n  to  all  believers. 

Thou  sittest  at  the  right  hand  of  God  in  the  Glory  of  the 
Father . 

We  believe  that  Thou  shalt  pray  Thee  help  Thy  Servants. 

We  therefore  pray  Thee,  help  Thy  servants  whom  thou  hast 
redeemed. 

The  "Stabat  Mater"  is  a medieval  poem  of  very 
uncertain  origin,  but  more  authorities  agree  on  two  more 
important  names  than  any  other  of  the  supposed  authors.  These 
are  Jacopone  and  Pope  Innocent  III,  with  the  latter  in  the 
majority.  At  first  the  poem  was  not  contained  in  the  liturgy 
of  the  church,  but,  due  to  its  popularity,  it  finally  crept 
into  the  Roman  Missal  as  a sequence  in  1727  and  gained  its 
final  place  in  the  hymn-books  later.  The  earliest  setting  of 
the  "Stabat  Mater"  is  by  Josquin  Despres  (1450  (?)-152l)  founded 
on  a canto  fermo . Better  remembered  are  the  two  by 
Palestrina,  one  written  for  a double -quartet  which  is  yearly 
sung  at  the  Sistine  Chapel  on  Thursday  of  Holy  Week.  Added  to 
the  list  of  composers  are  Pergolisi,  Haj^dn,  Rossini  and  Dvorak.1 

The  poem  is  one  of  complete  supplication  and  prayer 
beginning  with: 

"Lord  most  holy’.  Lord  most  mighty’. 

Righteous  ever  are  Thy  judgements. 

Hear  and  save  us,  for  Thy  mercies’  sake." 

1#From  Groves,  "Dictionary  of  Music  and  Musicians." 


( 

• t 


, 


, 


, 


« 


, , 


, 


, 


f 


-5- 


There  is  much  which  is  lyrical  in  the  poem  as  the  following 
passage : 

"Through  the  darkness  Thou  will  lead  me, 

In  my  trouble  Thou  wilt  heed  me, 

And  from  danger  set  me  free. 

Lord’  Thy  mercy  shall  restore  me, 

And  the  day-spring  shed  before  me, 

All  salvation  comes  from  Thee’." 

Also : 

"Let  Thy  light  so  shine  before  us, 

And  Thy  mercy  be  upon  us, 

Ev’n  as  in  our  trust  in  Thee." 

Of  great  majesty  and  dignity  is  this  passage: 

"When  Thou  comest  to  the  judgement, 

Lord,  remember  Thou  Thy  servants’.  None 
else  can  deliver  us. 

Save,  and  bring  us  to  Thy  Kingdom, 
there  to  worship  with  the  faithful,  and  for 
ever  dwell  with  Thee'." 

The  "Requiem"  is  a solemn  mass  sung  annually  in 
commemoration  of  the  "faithful  departed"  on  All  Soul's  Day, 
November  the  second.  It  is  also  sung  at  funeral  services  and 
special  occasions  of  great  seriousness.  It  takes  its  name 
from  the  first  word  of  the  Introit,  "Requiem  aeternan"  (grant 
them  rest.)  The  "Requiem"  is  believed  to  be  the  joint 
production  of  St.  Ambrose  and  St.  Augustine,  yet  not  all  of 
its  separate  parts  are  by  the  same  authors,  since  some  have 


. 


: . - 

. 


t 

. 

- ■ 


. 

* 

, 


-6 


authors  of  their  own.  In  the  revised  missal  of  services,  the 
"Requiem"  is  divided  into  five  sections  as  follows: 

(1)  "Requiem  aeternan"  which  begins: 

"Grant  them  rest,  grant  them  rest  eternal,  and  light 

perpetual  shine  down  upon  them Give  ear  to  my  humble 

supplication,  unto  thee  shall  all  flesh  come  at  last." 

(2)  "Dies  Irae"  by  Thomas  Celano  was  written  about  1250 
or  1300.  Do  Latin  poem  has  been  translated  so  often  and,  due 
to  its  popularity  as  a mass,  many  composers  have  used  it.  The 
character  of  this  section  of  the  "Reguiem  Mass"  is  quite 
different  than  the  preceding.  Here  the  records  of  the  "sacred 
dead"  are  scanned  and  no  detail  of  its  substance  overlooked. 
The  poem  in  part  follows: 

"Day  of  anger,  day  of  trouble, 

Time  shall  perish  like  a bubble. 

How  each  heart  shall  beat  with  terror 
When  the  judge  comes,  truth  to  mirror. 

Death  with  wonder,  is  enchained 
When  man  from  his  grasp,  rejained 
Stands  before  the  judge  arrainged. 

Nothing  longer  shall  be  hidden 
Dot  a trespass  go  unsmitten." 

In  contrast: 

"Ah’,  remember,  Jesus  blessed, 

Dor  me  Thy  path  was  oppressed. 


: 

. . ...... 

, 


' : 


. 

. 


, 

. 

: 


J 


-7 


For  my  sake  Thou  sat'st  down  weary 
Thy  cross  bearing  meek  and  cherry. 

From  my  sins  Lord  disenthrall  me 
Ere  to  answer  thou  dost  call  me. 

Lo i I pray,  a suppliant  sighing, 

Dark  remorse  my  heart  aparying, 

Heed  me  at  the  hour  of  duing." 

This  section  is  peculiarly  medieval  in  its  end  rhyme  and  awkward 
construction.  However,  the  stateliness  of  its  lines  cannot  be 
overlooked. 

(3)  "Domine  Jesu"  is  quoted  in  its  entirety. 

"Lord  Christ  Jesus,  King  of  Glory,  deliver  Thou  the  souls 
of  them  that  died  in  the  faith  of  Jesus  from  panic  everlasting, 
and  the  abyss  unfathomed:  from  the  mouth  of  the  lion,  lest  of 
the  jaws  of  the  pit  shall  swallow  them." 

(4)  "Sanctus." 

"Holy,  holy,  Lord  of  God  of  Sabaoth 

Heaven  and  earth  are  full  of  the  majesty  of  thy  glory, 

Hosanna  in  the  highest 

Blessed  is  he  that  comes  in  the  name  of  the  Lord  most  high." 

(5)  "Agnus  Dei."  This  section  is  a favorite  for  short 
masses . 

"Lamb  of  God  (Agnus  dei),  oh  Lamb  of  God,  that  dost  cleanse 
awa y the  world's  transgressions;  grant  them  Thy  eternal  rest."1 

There  are  other  shorter  Latin  hymns  which  are  popular 
also.  One  is  the  "Gloria  in  Excelsis"  which  was  the  morning- 
hymn  of  the  early  Christians. 


1 


Encyclopedia  of  Music 


. 


, 

, 

« ’ 


, 


, 


, 


. 

. 


-8- 


It  is : 

"Hail!  Gladdening  Light  of  His  pure  Glory  poured. 

Who  is  th'  Immortal  Lather,  heavenly  blest, 

Holiest  of  Holiest--Jesus  Christ  our  Lord." 

The  evening  hymn  "Phos  ilaron"  was  preserved  by  St.  Basil 
belonging  to  the  first  or  second  century. 

"How  we  are  come  to  the  sun's  hours  of  rest 
The  lights  of  evening  round  us  shine. 

We  hymn  the  Lather,  Son  and  Holy  Spirit  Divine'." 

The  "Seven  Last  Words,"  the  30  called  last  utterances 
of  Christ,  have  furnished  many  fine  pieces  of  music.  In  the 
Hebrew  these  are:  "Eli,  Eli,  lama  Sabachthani,  lama 
Saba  ch  than  i '.  " In  English--"My  God,  why  hast  Thou  forsaken  me." 


PART  II 

"The  Christmas  Oratorio"  by  Johann  Sebastian  Bach. 
Although  called  an  oratorio  this  great  production  is 
but  a collection  of  sacred  cantatas  for  the  celebration  of 
Christmas  week.  In  North  Germany  the  practice  of  celebrating 
Christmas  begins  December  25th  and  lasts  until  January  6th, 
the  26th  and  27th,  Nev/  Years  and  the  Sunday  after  the  feast  of 
Epiphamy  (or  dispersion  of  the  light  among  the  Gentile),  being 
particularly  solemnized.  Bach’s  "Christmas  Oratorio"  is 
therefore  divided  into  six  parts,  each  part  to  be  performed  on 
a holy  day. 

Part  !•  Lor  the  first  day  of  the  Christmas  Lestival. 

Part  II*  Lor  the  second  day  of  the  Christmas  Lestival. 

Part  III*  Lor  the  third  day  of  the  Christmas  Lestival. 


: c, 


’ 


. . 

' 


' 

, 

. 


-9 


Part  Iv.  For  the  New  Year’s  Pay  or  the  Feast  of  the  Circumcision. 
Part  V.  For  the  Sunday  after  New  Year's  Pay. 

Part  VI.  For  the  Feast  of  Epihamy, 

The  Bibical  story,  according  to  the  Gospel  of  St, 

John,  is  given  to  the  Tenor  recitative,  the  "Evangelist . " The 
narrative  is  broken  into  by  "reflective  passages"  which  are 
in  two  classes,  the  chorals  or  popular  hymns  including  such 
verses  as  have  bearing  on  the  text;  and  settings  of  original 
verses  in  the  form  of  choruses,  solos,  trios,  duets  and  other 
ensemble.'"1'  These  verses  were  written  by  Christian  Fredrich 
Heinrici  born  at  Stolpo  in  1700,  who  coelaborated  with  Bach  on 
all  the  latter’s  sacred  writings  under  the  name  of  "Picander . " 

Part  I of  " The  Christmas  Oratorio"  deals  with  the 
Annunciation  using  frequent  passages  from  St.  Luke.  The  second 
part,  introduced  by  a Pastoral  Symphony  giving  the  proper 
setting  for  the  shepherds'  watching  over  their  flocks.  Part  III 
recounts  the  resolve  of  the  shepherds  to  go  to  Bethlehem  and 
their  final  discovery  of  the  manger.  Part  IV,  to  be  sung  on 
New  Year’s  Pay  ushers  in  a change  to  F major  which  is  very 
appreciable  especially  when  the  oratorio  is  sung  in  succession. 
The  feeling  of  ardent  devotion  is  exhibited  throughout  from 
the  naming  of  Jesus  as  sung  by  the  Tenor  recitative,  to  the 
introduction  of  the  Wise  Men.  Part  V takes  up  the  story 
according  to  St.  Matthew,  telling  of  the  Wise  Men  when  they 
consult  with  Herod  and  the  Hebrew  authorities  concerning  the 
place  of  nativity.  Comfort  and  thankfulness  predominate  in  the 
last  part  as  brought  out  in  these  verses: 

"With  fear  why  are  ye  taken 
^’Spitta.  "Life  of  Bach."  _ 


. 

■ • , 

,■ 


, . 


■ 

. 


, 

. 


« 

. 

m 

• 

4 

. 

. 


-10- 


Why  should  the  presense  of  the  Lord  in  you  such  dread 
awaken? 

0 greet  with  thankfulness  the  love  He  is  revealing, 

He  comes  that  He  may  bless  our  sinful  race  with  perfect 
healing. " 

Also  this  part  contains  a beautiful  little  verse  doubtless 
taken  from  one  of  Luther’s  chorals. 

"Ah’,  when  shall  we  see  salvation? 

Ah’,  when  come 3 our  consolation? 

Peace,  for  surely  this  is  He’. 

Jesus  ah’  then  come  to  me." 

The  last  cantata  (Part  VI ) gives  the  picture  of  the  Wise  Men 
offering  gifts  to  the  Savior  and  their  worship  at  the  manger. 
Apropos  is  a stirring  verse  given  to  the  soloist. 

"Naught  against  the  pow’r  he  wieldeth 
On  our  feeble  arm  prevail. 

Naught  doth  all  our  might  avail. 

When  His  voice  th’  Almighty  shrev/s 
All  the  earth  before  Him  yieldeth, 

Pall  at  one  His  mighty  foes; 

Then  no  pride  from  ruin  shieldeth." 

The  last  narrative  (Tenor  recitative)  tells  that  the  Wise  Men 
avoid  Herod  and  depart  by  another  way  home. 

Particularly  outstanding  is  the  good  selection  of 
chorals  used.  This  is  doubtless  due  to  the  old  form  in  which 
the  oratorio  is  cast.  However,  Bach’s  unerring  taste  stands 
supremely  high  with  master  confidence  and  artistic  dignity 
throughout  the  whole  work. 


« - 

, 

. 


. 


-11- 


The  St.  Matthew  Passion. 

In  1729  the  text  for  the  "St.  Matthew  Passion"  was 
compiled  jointly  by  Bach  and  Picander.  Although  the  verses  of 
Picander  are  very  weak  and  uninteresting  because  he  was  less 
than  an  inferior  poet,  yet  Bach  was  able  to  keep  control  over 
the  poetic  thought  which  served  for  a better  purpose  in  the  end. 
The  story  is  divided  into  two  parts  according  to  the  St.  Matthew 
Gospel.  The  first  part  comprises  the  conspiracy  of  the  High 
Priests  and  Scribes,  the  anointing  of  Jesus,  the  institution 
of  the  Lord's  Supper,  the  prayer  on  the  Mount  of  Clives  and  the 
Betrayal.  This  first  part  is  lyrical  in  both  music  and  verse. 

The  second  part  includes  the  hearing  before  Caiaphas,  Peter's 
denial,  the  Judgment  of  Pontius  Pilate  with  the  episode  of  the 
death  of  Judas,  the  progress  to  Golgotha,  and  finally  the 
Crucifixion,  death  and  burial.  The  dramatic  element  predominates 
in  the  second  part  including  a little  heavier  accompaniment  and 
more  climactic  choruses  and  but  few  solos.  However,  the  whole 
oratorio  is  characterized  by  a sweetness  which  has  selected  only 
those  parts  from  the  last  days  of  Christ's  life  which  should 
inspire  devotion,  pity,  and  ardent  worship  instead  of  the 
gruesomeness  of  the  earlier  Passion  texts.  There  is  no  attempt 
at  making  a drama,  although  the  characters  are  sung  by 
individual  parts  and  the  Tenor  recitative  chants  the  Bible 
verses.  Altogether  there  are  twenty-eight  independent  poems 
interspersed  with  the  recitatives  of  Bible  verse.  Differing 
from  the  Passion  oratorios  of  other,  especially  later,  composers, 
Bach  has  used  the  "Seven  Last  Words"  in  the  original,  "Lama, 


* 


. 


. 


, 


. 


* . 


. 


. 


lama,  sabachthani,  " which  gives  a peculiar  appeal  all  its  own. 


The  "Creation"  by  Franz  Joseph  Haydn. 

The  text  for  the  "Creation"  was  offered  to  Haydn  by 
Solomon,  a poet  and  connoisseur  who  urged  many  tasks  upon  Haydn. 
He  resurrected  the  poem  while  Haydn  was  in  England  and  urged 
on  by  the  example  of  Handel  to  choral  writing,  Haydn,  with 
profound  reverence,  undertook  the  composing  of  the  music.  The 
text  is  compiled  by  P.  D.  Lidley  from  Milton's  "Paradise  Lost" 
in  a very  free  translation,  v/ith  many  alterations.  It  is  in 
three  parts,  the  first  telling  of  the  creation  of  the  earth, 
the  second,  the  creation  of  living  things  and  last,  the  praises 
of  Adam  and  Eve.  The  characters  are: 

Gabriel  —Soprano 
Uriel — Tenor 
Raphael — Bass 
Adam- -Bass 
Eve — Scprano 

Part  One  begins  with  the  first  words  of  Genesis,  sung 
by  Raphael:  "In  the  beginning  God  created  the  heavens  and  the 

earth .."  Then  following  in  a series  of  recitatives, 

choruses  and  solos  is  the  story  of  the  creation  of  waters,  sky 
and  earth  finished  by  a lyrical  verse  sung  by  the  angel  Gabriel 
( soprano ) : 

"With  verdure  clad  the  fields  appearest, 

Delightful  to  the  ravish'd  sense; 

By  flowers  sweet  and  gay 


■ 


. ' 

. 

• ' i-j 

. 

... 

- 


: . r 


-13 


Enhanced  is  the  charming  sight, 

Here  fragrent  herbs  their  odors  shed, 

Here  shoots  the  healing  plant.” 

The  climax  of  the  first  part  comes  at  the  end  with  the  stirring 

chorus : 

"The  heavens  are  telling  the  glory  of  God, 

The  wonder  of  His  love  displays  the  firmament." 

Part  Two  relates  the  inhabitation  of  the  earth  with  living 
things  and  gives  the  charge: 

"Be  fruitful  all,  and  multiply, 

Ye  winged  tribes,  be  multiplied, 

And  sing  on  every  tree; 

Multiply,  ye  funny  tribes, 

And  fill  each  wat’ry  deep; 

Be  fruitful,  grow  and  multiply, 

And  in  your  God  and  Lord  rejoice." 

Another  chorus  not  so  dramatic  as  the  one  in  Part  One,  finishes 
Part  Two : 

"Achieved  is  the  glorious  work; 

Our  song  let  be  the  praise  of  God. 

Glory  to  His  name  forever. 

He  sole  on  high  exalted  reigns." 

Thankfulness  and  worship  by  Adam  and  Eve  occupy  the  third  part, 
"where  hand  in  hand  they  go;  their  glowing  looks  express  the 
thanks  that  swell  their  grateful  hearts." 

They  express  their  happiness  in  each  other  by  Eve’s  words: 

"0  thou  for  whom  I am,  my  help,  my  shield, 

My  all,  thy  will  is  lav/  to  me: 


: 

f 


* 

■ : ■ 


. 

. 


' 


. 

■ 


; 


-14- 


So  God  our  Lord  ordains,  and  from  obedience 
Grows  my  pride  and  happiness.” 

The  oratorio  closes  with  a triumphant  chorus  with  which  the 
quartet  (Gabriel,  Eve,  Raphael  and  Adam)  joins: 

"Sing  the  Lord,  ye  voices  all 
Magnify  His  name  through  all  creation, 

Celebrate  His  power  and  glory, 

Let  His  name  resound  on  high. 

Praise  the  Lord.  Utter  thanks. 

Jehovah’s  praise  forever  shall  endure." 

Amen. 

"The  Seasons "--by  Eranz  Joseph  Haydn. 

This  oratorio  is  Haydn’s  last  effort  of  a more 
pretentious  character.  The  text  is  compiled  by  Ereiherr  von 
Sweiten  taking  Thomson's  "Seasons"  as  a basis.  He  persuaded 
Haydn  to  undertake  the  work  and  Haydn,  who  liked  the  libretto, 
was  very  willing  to  make  the  attempt.  The  librettist  has 
chosen  characters  who  form  the  solo  quartet  although  the  text 
requires  no  separate  rendition.  The  personnel  is: 

Simon  (a  farmer) — Base 
Jane  (his  daughter ) --Soprano 
Lucas  (a  young  countryman) --Tenor 
Chorus  of  country  people  and  hunters 
The  oratorio  is  divided  into  four  parts  according  to  the 
seasons,  otherwise  no  story  is  followed. 

Spring  involves  planting  and  nature's  work. 


* 


, 

. 

, 


: 


-15- 


"With  joy  th’  impatient  husbandman 
Forth  drives  his  lusty  team. 

To  where  the  well  us’d  plough  remains, 

How  loosen’d  from  the  frost." 

These  descriptions  end  with  the  jublilation  of  the  chorus: 

"God  of  light!  God  of  life!  Hail,  mercy’s  Lord." 

Finally  Part  One  closes  with  a trio: 

"From  whose  abundant  stores 
The  earth  with  plenty  flows, 

And  whose  Almighty  love 
Makes  glad  the  heart  of  man." 

Part  Two  describes  the  summer  day  beginning  with  the  exuberance 
of  morning,  the  heat  of  noon  and  the  peace  and  quiet  cf  the 
evening.  To  the  chorus  is  given  the  description  of  dawn  rising 
to  a climax  at  the  appearance  of  day. 

"Behold  on  high  he  mounts, 

The  sight  no  more  his  beams  withstands." 

The  farmer  (bass)  sings  an  aria  of  the  activities  of  the 
morning. 

"How  swarms  the  village  o'er  the  mead, 

The  rustic  youth,  the  ruddy  maid, 

The  breathing  harvest  spread  around 
Whose  fragrence  scents  the  air." 

Then : 

"Distressful  nature  fainting  sinks’. 

Drooping  foliage,  thirsty  pastures,  faunts  exhausted, 

Show  the  tyrant  rage  of  heat; 

And  panting,  languish  man  and  beast. 


. 


• 

-16 


Outstreach’d  upon  the  ground. 

Ho v/  wel corned  the  shady  nooks.” 

In  contrast  follows  the  very  pleasing  and  quieting  aria  for  the 
soprano  which  remains  the  most  famous  selection  of  the  whole 
oratorio . 

"0  how  pleasing  to  the  senses 
Comes  the  sweet  and  cooling  breeze*. 

Beams  the  eye  with  joy  expanded, 

As  the  stream  of  life  pervades 
The  invigorate!  frame . 

Delight  uplifts  the  heart 
And  fancy s magic  power 
O’er  nature  bears  the  soul 
On  sweet  enchanted  wing. ” 

At  last  the  evening  comes  with  a quiet  choral  ending  which 
finishes  Part  Three. 

"The  evening  bell  again  has  tolled, 

The  winking  stars  to  sleep  invite; 

The  hour  of  sweet  repose  is  near; 

To  rest,  to  rest  away. 

In  the  autumn  comes  the  rewards  of  nature  through 
the  labor  of  man,  the  abundance  of  harvest  and  the  praise  and 
rewards  of  industry. 

"0  industry,  how  rich  thy  gifts’. 

The  cottage  where  we  dwell, 

Our  clothing  and  our  food, 

Health,  plenty  and  content, 

Are  blessing  all  by  thee  bestowed. 


-17- 


All  Hail,  0 Industry! 

From  thee  springy  every  good. 

The  "Seasons"  never  reached  the  level  of  the  "Creation" 
first  because  of  its  pastoral  nature  and  second  because  of  its 
disconnected  libretto.  However,  for  the  amateur  chorus  of  the 
High  School  type,  the  "Seasons"  has  a place  among  the  most 
suitable  oratorios. 

The  "Messiah"-  by  George  Frederick  Handel. 

The  text  of  Handel's  "Messiah,"  selected  by  Charles 
Jennens,  is  one  of  the  most  suitable  oratorio  libretti  discussed 
in  this  thesis.  Although  it  is  entirely  from  the  scriptures,  it 
tells  the  story  from  the  prophecies  of  the  Messiah's  coming  to 
his  birth,  death  and  resurrection.  The  libretto  proper  is  divided 
into  three  parts,  (a)  the  prophecies,  (b)  His  coming  and  (c)  His 
death  and  resurrection. 

The  oratorio  opens  with  a short  instrumental  overture 
which  is  followed  one  after  the  other  by  prophecies  of  His  coming. 
First  the  tenor  sings  that  "Jerusalem's  warfare  is  accomplished 
and  that  her  iniquity  is  pardonned"  also  that  "Every  valley  shall 
be  exalted."  The  chorus  offers:  "And  the  glory  of  the  Lord  shall 
be  revealed  and  all  flesh  shall  see  it  together;  for  the  mouth  of 
the  Lord  has  spoken  it."  However,  the  real  prophecy  is  given  to 
the  alto  soloist  with  the  recitative,  "Behold,  a virgin  shall 
conceive  and  bear  a Son,  ans  shall  call  His  name  Emanuel"  and  the 
aria,  taken  from  the  Psalms  "0  thou  that  tellest  good  tidings  to 

Zion,  get  thee  up  into  the  high  mountain" The  bass  adds  a 

bit  of  gloomy,  yet  promising  prophecy  with  "The  people  that 

walked  in  darkness  have  seen  a great  light;  and  they  that  dwell 


-18- 


in  the  land  of  the  shadow  of  death,  upon  them  hath  the  light 
shined."  The  chorus  sings  the  happy  words  which  finish  this 
sequence:  "For  unto  us  a child  is  born,  unto  us  a Son  is  given, 
and  the  government  shall  he  upon  His  shoulder;  and  His  name  shall 
be  called  Wonderful,  Counsellor,  the  Mighty  God,  the  Everlasting 
Father,  the  Prince  of  Peace."  There  is  a Pastoral  Symphony 
which  serves  as  a transition  between  the  prophecies  and  the 
fulfillment . 

Up  to  now,  the  soprano  has  had  no  solos  but  the 
description  of  the  shepherds  in  the  fields  and  what  happened  on 
that  night  is  divided  into  four  recitatives  ending  with  the 
chorus  "Glory  to  God  in  the  highest  and  peace  on  earth,  good  will 
towards  men.’1  Again  the  soprano  sings  in  co-operation  with  the  alto 
their  celebrated  solos  of  comfort  to  those  that  "labor  and  are 
heavy  laden"  which  are  among  the  most  impressive  of  sacred  solos. 
Part  One  ends  with  the  chorus  "His  yoke  is  easy  and  His  burthen 
is  light." 

Part  Two  introduces  the  tribulations  and  sorrows  of 
the  Savior’s  life  on  earth.  The  alto  has  the  first  aria  "He  was 
despised  and  rejected;  a man  of  sorrows  and  acquainted  with 
grief,"  followed  by  a chorus,  "Surely  He  hath  borne  our  griefs 
and  carried  our  sorrows!  he  was  wounded  for  our  transgressions. 

He  was  bruised  for  our  iniquities,"  with  a fugal  ending  on  "And 
with  His  stripes  we  are  healed."  Then  reference  is  made  to  the 
first  spreading  of  the  gospel, "The  Lord  gave  the  word;  great  was 
the  company  of  preachers,"  and  then,  followed  by  the  simple  and 
beautiful  soprano  aria,  "How  beautiful  are  the  feet  of  them  that 
preach  of  peace,  and  bring  glad  tidings  of  good  things." 


' 


10  iCi; 


-19- 


Curiously  appropriate  is  the  thunderous  bass  solo  which  breaks  in 
upon  the  peace  of  the  preceding  solos  and  choruses.  This  is  one 
of  the  finest  bits  of  variety  which  a librettist  can  offer, 
expressing  as  it  does  the  eternal  question:  "Why  do  the  nations 
rage  so  furiously  together,  and  why  do  the  people  imagine  a vain 
thing?  The  kings  of  the  earth  rise  up  and  the  rulers  take 
counsel  together  against  the  Lord,  and  against  His  Anointed." 
However,  this  fear  is  allayed  by  a dramatic  tenor  solo,  "Thou 
shalt  break  them  with  a rod  of  iron;  Thou  shalt  dash  them  in 
pieces  like  a potters  vessel"  and  the  chorus  rejoices  in  the 
famous  Hallelujah  chorus  which  closes  the  second  part. 

The  theme  of  the  resurrection  is  opened  immediately 
in  the  third  and  last  part  by  the  soprano  solo:  "I  know  that  my 
Redeemer  liveth,  and  that  He  shall  stand  at  the  latter  day  upon 

the  earth For  now  is  Christ  risen  from  the  dead,  the  first 

fruits  of  them  that  sleep."  The  teaching  of  resurrection  and 
life  everlasting  through  Jesus  Christ  remains  the  theme  throughout 
the  remainder  of  this  part.  The  bass  aria  describes  the  manner 
of  resurrection:  "The  trumpet  shall  sound  and  the  dead  shall  be 
raised  incorruptible,  and  we  shall  be  changed.  For  this  corruptible 
must  put  on  incorruption,  and  this  mortal  put  on  immortality." 

The  soprano  inserts  a bit  of  comfort  easily  understood:  "If  God 

be  for  us  who  can  be  against  us? It  is  Christ  that  died,  yea, 

rather  that  has  risen  again,  who  is  at  the  right  hand  of  God,  who 
makes  intercession  for  us."  The  "Messiah"  closes  with  one  of 
the  most  dramatic  finales  in  oratorio  the  secret  of  which  lies  in 
the  strength  of  thought  contained  in  the  text.  "Worthy  is  the 

Lamb  that  was  slain,  and  hath  redeemed  us  by  His  own  blood,  to 


■ 

"t  c 


. 


' 


-20- 


receive  power,  and  riches,  and  wisdom,  and  strength,  and  honor, 

and  glory,  and  blessing" However  Handel  has  placed  his  own 

genius  into  this  finale  by  the  fugal  "Amen"  chorus  which  completes 
the  whole  effect. 

"Elijah"-  by  Felix  Mendelssohn-Bartholdy . 

The  greatest  of  Mendelssohn’s  oratorios  "Elijah",  is 
another  whose  text  is  from  the  Bible.  The  author  of  the  English 
version  which  is  used  in  this  discussion  has  translated  as 
"nearly  in  accordance  with  the  scriptural  texts  as  the  music  to 
which  it  is  adapted  will  permit:  the  references  are  therefore  to 
be  considered  rather  as  authorities  than  quotations."  The  text 
is  divided  into  two  long  parts,  the  first  including  Elijah’s 
triumph  over  Baal  and  his  prophets,  the  second,  telling  of  his 
flight  to  the  wilderness  and  subsequent  departure  to  heaven. 

There  had  been  a great  drought  over  Israel  which  Elijah 
had  decreed  as  a punishment  of  the  people  of  Israel,  "As  God  the 
Lord  of  Israel  liveth,  before  whom  I stand,  there  shall  not  be 
dew  nor  rain  these  years,  but  according  to  my  word."  Yet  the 
people  will  not  believe  in  the  Lord.  They  answer,  "He  mocketh  at 
us;  His  curse  hath  fallen  down  upon  us;  His  watch  will  pursue  us, 
till  He  destroy!" 

An  angel  speaks  to  Elijah  telling  him  to  drink  at 
Cherith's  brook  where  the  Lord  will  strengthen  him.  At  the  brook, 
he  meets  a widow  whose  son  has  died,  Elijah,  in  order  to  prove 
that  the  Lord  is  merciful  and  compassionate  and  also  that  he  is  a 
man  of  God,  calls  upon  the  Lord  to  revive  the  soul  of  the  widow's 
dead  son.  The  widow  answers:  "The  Lord  hath  heard  my  prayer,  the 
soul  of  my  son  reviveth.  Now  by  this  I know  that  thou  art  a man 


. 


-31- 

cf  God,  and  that  His  word  in  thy  mouth  is  the  truth.  What  shall 
I render  to  the  Lord  for  all  His  benefits  to  me?”  Elijah  answers: 
"Thou  shalt  love  the  Lord  thy  God  with  all  thine  heart,  and  with 
all  thy  soul,  and  with  all  thy  might." 

Elijah  is  then  called  to  bring  witness  before  Ahab  and 
the  prophets  of  Baal  that  the  Lord  is  the  one  God.  He  calls 
people  before  them  and  commands  the  priests  of  Baal  to  slay  a 
bullock  and  lay  it  on  the  alter  and  "uplift  your  voices,  and  call 
the  God  ye  worship;  and  I then  will  call  on  the  Lord  Jehovah;  and 
the  God  who  by  fire  shall  answer,  let  him  be  God."  The  people 
call  in  loud  voices  many  times,  even  cut  themselves  with  lancets 
and  knives  as  their  custom  in  worship,  but  no  fire  came  down. 

At  last  Elijah  tired  of  their  ranting  cries  out:  "Draw  near,  all 
ye  people:  come  to  me’." 

"Lord  God  of  Abraham,  Isaac  and  Israeli  this  day  let  it 
be  known  that  Thou  art  God;  and  I am  Thy  servant!  0 show  to  all 
this  people  that  I have  done  these  things  according  to  Thy  word! 

0 hear  me  Lord,  and  answer  me;  and  show  this  people  that  Thou  art 
Lord  God,  and  let  their  hearts  again  be  turned!  The  fire  descends 
and  consumes  the  offering  and  the  people  cry,  "Before  Him  on  your 
faces  fall!  The  Lord  is  God:  0 Israel  hear!  Our  God  is  one  Lord: 
and  we  will  have  no  other  gods  before  the  Lord!"  Then  Elijah 
chides  the  people  for  not  having  believed.  "Is  not  His  word  like 
a fire;  and  like  a hammer  that  breaketh  a rock  into  pieces?  For 
God  is  angry  with  the  wicked  every  day;  and  of  the  wicked  turn  out, 
the  Lord  will  whet  His  sword;  and  He  hath  bent  His  bow,  and  made 
it  ready."  Obadiah  pleads  with  Elijah  that  they  have  rain.  "0 
man  of  God,  help  thy  people!  Among  the  idols  of  the  Gentiles, 


-22- 

are  there  any  that  can  command  the  rain,  or  cause  the  heavens  to 
give  their  showers?  The  Lord  our  God  alone  can  do  these  things.” 
Elijah  answers:  "0  Lord,  Thou  hast  overthrown  thine  enemies  and 

destroyed.  Look  down  on  us  from  heaven,  0 Lord,  regard  the 
distress  of  Thy  people;  open  the  heavens  and  send  us  relief:  Help 
thy  servant  now,  0 God.”  He  sends  a youth  three  times  to  look 
for  a cloud.  At  last:  "Behold,  a little  cloud  ariseth  now  from 
the  waters;  it  is  like  a man's  hand!  The  heavens  are  black  with 
clouds  and  wind:  the  storm  rusheth  louder  and  louder."  The  people 
convinced  burst  into  rapturous  chorus:  "Thanks  be  to  God!  He 
loveth  the  thirsty  land!  The  waters  gather;  they  rush  along;  they 
are  lifting  their  voices!  The  stormy  billows  are  high;  their 
fury  is  mighty.  But  the  Lord  is  above  them  and  almighty." 

Part  Two  reiterating  the  first  in  its  songs  of  praise 
and  thankfulness,  yet  it  al3o  continues  the  story  farther.  The 
queen,  not  satisfied  with  the  sudden  turn  of  the  people  toward 
Jehovah,  reminds  them  of  the  causes  of  their  previous  disbelief. 
"Have  we  not  heard  He  hath  prophesied  against  all  Israel?  Doth 
Ahab's  power  govern  the  kingdom  of  Israel  while  Elijah's  power 
is  greater  than  the  king's?"  The  people  answer  each  question  with 
"We  heard  it  with  our  ears,"  or  "He  shall  perish."  To  further 
infuriate  the  people  she  cries:  "Hath  He  not  destroyed  Baal's 
prophets?  He  also  closed  the  heavens.  He  called  down  a famine 
on  the  land"  and  at  last,  "Go  forth  and  sieze  Elijah  for  he  is 
worthy  to  die;  slaughter  him!  do  unto  him  as  he  hath  done!" 

Elijah  is  warned  by  Obadiah  that  "the  mighty  gather 
against  thee"  and  so  seeks  protection  in  the  wilderness  where  his 
soul  is  persecuted  with  sorrow  and  remorse  for  the  actions  of  his 


• 

■ 


. 


-23- 


people.  The  angels  comfort  him  with  lovely  songs  of  rest  and 
promise,  but  Elijah  answers  all:  ”0  Lord,  I have  labored  in 
vain;  I have  spent  my  strength  for  naught  I"  But  God  caused  a 
great  storm  and  fire  over  the  land  which  destroyed  everything. 

The  angels  report  to  Elijah;  "Go  return  upon  thy  way!  For  the  Lord 
yet  hath  left  Him  seven  thousand  in  Israel  which  have  not  bowed 
down  to  Baal:  go,  return!”  He  goes  back  to  his  people  who  praise 
him  as  the  one  man  of  God.  ”And  when  the  Lord  would  take  him 
away  to  heaven,  lo!  there  came  a fiery  chariot  with  fiery  horses; 
and  he  went  by  a whirlwind  to  heaven.” 

The  oratorio  closes  with  three  choruses  of  praise :- 
”0  come  every  one  that  thirst eth.  0 come  to  the 
waters.  Come  unto  Him,  0 hear  and  your  souls  shall  live  forever.” 
Lord,  our  creator,  how  excellant  Thy  name  is  in  all  nations.  Thou 
fillest  the  heaven  with  Thy  glory.  Amen.” 

”The  Last  Judgment , "-by  Ludwig  Spohr . 

It  is  told  that  after  his  return  from  a concert  tour, 
Spohr  received  instructions  from  Bischiff,  then  the  Precenter  at 
the  Church  of  Frankenhausen,  informing  him  that  the  Governor  of 
Erfurt  had  commanded  him  to  arrange  a musical  festival  in  honor 
of  the  birthday  of  Napoleon.  Obeying  the  order,  Spohr  took  a 
text  arranged  by  an  unknown  poet  of  Erfurt  and  began  work  on  the 
music.  Contrary  to  the  impression  which  the  title  of  the  oratorio 
might  convey,  it  contains  very  little  of  "eternal  damnation"  or 
even  fearful  descriptions;  but  sweetness,  tenderness  or  grace 
might  characterize  the  whole  work.  The  text  is  divided  into  two 
parts,  the  first  part  contains  choruses  of  praise  and  adoration 
and  a little  of  the  description  of  "The  Last  Judgment"  and  Part 


i 


■ 


-24- 

Two  confines  itself  to  those  portions  of  the  apocalypse  which 
describe  the  signs  of  the  last  day,  concluding  with  the  vision  of 
a new  heaven  and  earth* 

There  is  no  particular  story  in  the  libretto  for  the 
whole  oratori©  dwells  on  the  rewards  of  good  faith  and  preaches 
the  gospel  of  salvation  thru  the  risen  Lord,  Jesus  Christ.  One 
of  the  opening  choruses  is  rival  to  the  famous  chorus  in  the 
"Messiah" ; "Blessing  and  honor,  power  and  glory  be  unto  Him  who 
sitteth  upon  the  throne  and  unto  the  Lamb  forever."  Immediately 
following,  the  setting  is  given: 

"Day  of  wrath  is  near . 

Th'  Almighty  shall  reveal  His  power. 

The  reaper's  song  is  silent  in  the  field. 

And  the  shepard's  voice  in  the  mountains. 

The  valley  then  shall  shake  with  fear. 

With  dread  the  hills  shall  tremble. 

It  comes,  the  day  of  terror  comes! 

The  awful  morning  dawns! 

Thy  mighty  arm,  0 God,  i3  uplifted. 

Thou  shalt  shake  the  earth  and  heavens. 

They  shall  shrivel  as  a scroll 
When  Thou  in  wrath  appearest." 

Then  comes  John's  description  of  his  vision  of  a great  white  throne 
around  which  shone  a rainbow  and  from  behind  came  thunder  and 
voices  crying  day  and  night.  "And  lo!  a throne  was  set  in  heaven, 
and  on  the  throne  One  stood.  And  a rainbow  was  around  about  the 
throne;  and  the  elders  knelt  before  the  throne  clad  in  white 
raiment:  and  on  their  heads  were  crowns  of  gold:  and  from  the 

throne  came  thunder ings,  and  voices  crying  day  and  night."  Then 


. 

. 


-25- 


comes  the  description  of  Christ,  the  Savior.  uAnd  lol  a mighty 
host  of  all  nations  and  people  stood  before  the  throne  and  the 
Lamb.  Of  spotless  white  was  every  garment:  in  every  hand  a palm 
was  borne.”  For  those  pleading  for  comfort,  whose  conscience  may 
be  a little  guilty,  the  soprano  sings  an  aria  of  great  promise: 
"Yes,  every  tear  and  every  sorrow,  the  Lord  shall  wipe  away  from 
their  eyes:  nor  sin,  nor  death,  nor  pain,  nor  sorrow  shall  there 
be  known." 

Part  Two  deals  with  the  second  comingof  Christ.  The 
description  is  given  to  the  bass  recitative  with  a rumbling 
accompaniment  expressive  of  tense  excitement.  The  appeals  come, 
just  as  in  its  actuality  they  will  come.  "Forsake  me  not  in  this 

dread  hour,  0 God  most  merciful In  Thee  alone  I trust." 

To  those  seeking  repentence,  the  promise  is  given.  "I  will  be 
your  Father  and  ye  shall  be  my  people." 

The  oratorio  closes  with  a dramatic  choral  ending 
glorifying  God  with  some  of  the  most  impressive  verses  in  the 
Bible.  "All  nations  worship  before  Thy  throne  for  Thou  alone  art 
holy.  Thine  is  the  kingdom,  the  power  and  glory  forever.  Great 
and  marvelous  are  Thy  works,  0 Thou  Almighty  God."  Amen. 

"The  Redemption"-  by  Charles  Francois  Gounod. 

"The  Redemption"  is  unique  among  the  oratorios  considered 
in  this  discussion  in  that  Gounod  is  both  author  and  composer.  He 
wrote  the  words  at  Rome  where  he  passed  two  months  of  the  winter 
of  1867-68,  and  simply  sketched  the  music.  The  oratorio,  however, 
was  not  completed  until  fourteen  years  later  for  the  Birmingham 
Festival  in  England.  It  is  divided  into  a Prologue  and  three 
parts  including  "Calvary,"  the  Resurrection  and  the  Ascension, 


- 


' 


-36- 


and  lastly,  the  Pentecost.  The  tenor  and  bass  soloist  are  given 
the  role  of  narrator  and  appear  as  the  only  soloists  until  the 
soprano  solos  in  the  second  part  and  a short  soprano  solo  in  the 
third  part  representing  an  angel.  So,  it  is  essentially  a "choral” 
oratorio.^ 

The  prologue  relates  the  story  of  Adam  in  the  garden. 

"Of  the  works  of  Thy  hands,  by  Thy  predestination  was  the  father 
of  man  appointed  to  be  head; 

And  be  placed  in  a land  of  abundance  and  beauty; 

Lived  a pure,  happy  life,  under  guidance  of  duty;" 

The  bass  narrator  then  tells  the  story  of  man's  disobedience  of 
the  divine  command  but  utters  no  hope  of  forgiveness. 

" not  by  blood  flowing  often 

Could  mankind  ever  hope  the  Lord's  anger  to  soften." 

The  tenor  narrator  has  the  tidings,  however,  a prophecy  which 
expresses  the  whole  theme  of  the  Redemption. 

"In  our  flesh  will  come  One,  to  be  born  and  to  die. 

To  prevail  over  death,  exalting  man  on  high." 

And  a celestial  choir  sings  the  "Promise  of  Redemption;" 

"The  earth  is  my  possession; 

I leave  my  heavenly  home 
To  atone  for  transgression: 

0 my  Father,  lo,  I come." 

Part  One  tells  the  story  of  the  Crucifixion. 

"When  the  hour  was  at  hand,  the  Lord  with  resignation 
Went  forth  up  to  the  mount,  as  a sinner  to  die. 

For  us  He  gave  Himself  as  a willing  oblation, 

1#The  translation  of  the  text  used  in  this  discussion  is  by 

L 


Reverend  F.  Troutbecke 


. 


-27- 


That  in  His  holy  blood,  Man,  by  a new  creation. 

Might  again  be  invested  with  grace  from  on  high. 

And  at  last  might  attain  to  eternal  salvat ion. " 

The  march  to  Calvary,  an  orchestral  interlude , contains  also  the 
description  in  solos  and  choruses  of  His  patient  climb  carrying 
the  burden  of  the  cross,  also  Christs*  words  to  the  women  of 
Israel : 

nYe  daughters  of  Israel,  weep  ye  not  for  me,  but  weep  ye  for 
yourselves,  and  weep  ye  for  your  children 

The  crucifixion  contains  a sympathetic  description  of  the  agonies 
including  His  forgiveness  of  the  slayers.  His  commission  to  John, 
"Behold  thy  Mother l",  the  words  of  the  impenitent  and  the 
penitent  thieves,  and  the  latter's  forgiveness,  "And  the  Lord 
was  touched  by  the  faith  in  pardon  which  he  shewed,  and  turning 
to  him  spake  thus:  ‘In  very  truth  say  I to  thee,  today  thou 
shalt  be  with  me  in  Paradise. 

Following  is  an  orchestral  interlude  expressive  of  the  darkness 
which  fell  over  the  earth  "at  about  the  ninth  hour."  Jesus  cries: 
"My  God,  why  hast  Thou  forsaken  me?"  and  then  commends  His  spirit 
into  God's  hands.  "Then  He  gave  up  the  ghost  , and  all  came  to 
an  end." 

Part  Two  from  the  Resurrection  to  the  Ascension  gives 
every  detail  of  the  story  without  a single  verse  of  the  scriptures. 
A prophetic  choir  at  the  beginning  sings  a beautiful  verse  on  the 
theme  of  the  Resurrection. 

"Savior  of  men,  we  know  that  because  Thou  art  living 
We  live:  Thou  to  the  dead  resurrection  art  giving. 

Yea,  all  them  that  are  sleeping  from  the  grave  Thou  wilt  bring, 


' 


? . 


-38- 


So  that  life  restored,  we  shall  see  Thou  art  glorious. 

When  as  Death,  over  whom  this  day  Thou  art  victorious. 

Has  fled  before  the  Lord  and  King.” 

The  old  story  is  told  in  song,  of  the  women  going  to  the  sepulchre 
in  the  morning  and  their  surprise  at  seeing  the  stone  rolled 
away.  They  meet  Jesus  on  their  way  to  deliver  the  angel's  message 
to  the  disciples  and  He  says: 

"Blessed  are  ye  women.  All  the  things  ye  have  done,  all  the 
tears  ye  have  been  shedding,  signs  of  faithful  love,  have  their 
reward  in  heaven. ..... .Depart  quickly,  and  say  to  them  that  ye 

have  this  day  seen  the  Lord." 

An  individual  stamp  is  given  to  this  part  of  the 
oratorio  in  the  story  of  the  consternation  of  the  high  priests 
and  scribes.  This  portion  is  not  always  included  and  adds  quite 
a diversion  to  a part  of  the  story  which  might  easily  become 
uninteresting.  The  soldiers  of  the  watch  greatly  perplexed  say: 
"Christ  is  risen  again.  Vainly  we  kept  a close  watch.  Lo! 
the  tomb  open  stands.  This  in  truth  is  a sign.  Jesus  Christ, 

He  whom  some  as  a prophet  regarded,  the  Just  One,  and  was  He  more 
than  a mortal?" 

The  chorus  chides  these  officers  in  an  almost  bantering  manner. 
"How  behold  ye  the  guard,  this  your  sleep-vanquished  guard. 

Ah!  Ye  priests  who  conspired,  ye  yourselves  in  slumber. 

What  time  ye  to  the  shameless  betrayer  did  number. 

In  return  for  his  deed,  that  agreed  on  reward. 

To  the  crime  were  blind:  yet  does  Justice  record 

That  through  gold,  which  the  hand  of  the  traitor  did  cumber 


Forages  on  your  heads  shall  contempt  be  outpoured." 


. 


. 


-28- 


The  news  is  given  to  the  disciples  in  two  rather 
prosaic  stanzas,  sung  by  a trio: 

"The  Lord,  He  is  risen  again. 

To  our  sight  and  to  our  hearing 
Have  wondrous  signs  been  appearing: 

He  doth  manhood  yet  return 
The  Lord,  H©  is  risen  again. 

Him  we  saw,  when  home  returning 
At  the  breaking  of  the  day; 

Our  hearts  are  within  us  burning. 

All  grief  and  doubt  passed  away. 

The  Lord,  He  is  risen  again.” 

The  disciples  gather  together  in  the  evening  and  Jesus 
visits  them  giving  the  great  commission  which  they  must  assume 
as  preachers  and: 

"After  this  to  a mountain  He  lead  them  forth,  and  then,  lifting 
up  His  hands,  as  in  blessing.  He  departed  and  ascended  into  Heaven j* 
Immediately  following  comes  the  chorus  which  is  the 
most  popular  of  its  kind.  The  verses  are  of  great  stateliness 
but  without  any  pompousness. 

"Unfold,  ye  port als  everlast ing. 

With  welcome  to  receive  Him  ascending  on  high. 

Behold  the  King  of  Glory  1 He  mounts  up  through  the  sky. 

Back  to  the  heavenly  mansions  hasting. 

Unfold,  for  lo,  the  King  comes  nigh.” 

But  who  is  He,  the  King  of  Glory? 

He  who  Death  overcame,  the  Lord  in  battle  mighty. 


. 


-30- 

Of  hosts  He  is  the  Lord;  of  angels  and  of  powers. 

The  King  of  Glory  is  the  King  of  Saints. 

The  last  part  (III),  "The  Pentecost"  shows  the  disciples 
praying  on  the  day  of  Pentecost  when  the  Holy  Ghost  appeared 
before  them  and: 

"At  once  the  Spirit  came  upon  them,  a holy  rapture,  their  very 
souls  possessing,  both  in  flames  and  inspires  them:  these  untaught, 
simple  men,  these  hearts  with  terror  chilled,  like  to  heroes 
appear,  in  their  zeal  for  the  faith." 

The  disciples  so  full  of  divine  spirit  are  rightly 
given  the  last  choruses  to  sing: 

"The  Word  is  Flesh  become;  thus  begin  we  the  story: 

Full  of  grace,  full  of  truth  is  He. 

In  the  womb  of  a Virgin  did  He  veil  the  glory 
Of  His  eternal  majesty. 

He  is  before  the  world,  all  light  from  Him  we  gather, 

God,  holy,  just,  and  true,  is  He; 

And  like  the  Holy  Ghost,  is  one  with  God,  the  Father 
In  everlasting  Trinity." 

"Paradise  and  the  Peri"-  by  Robert  Schumann. 

The  text  of  Schumann's  great  choral  work  is  taken  from 
the  second  poem  in  Moore's  "Lalla  Rookh"  which  was  given  to  him 
by  a friend,  Emil  Flechsig,  by  whom  it  was  translated  and  revised 
for  use.  The  poem  is  not  genuinely  dramatic  and  because 
Schumann  adapted  it  to  dramatic  music,  it  has  not  been  as 
successful  as  other  of  Schumann's  work.  The  narrator  form  is 


. 


■ 


-31- 


used  throughout,  doubtless  a suggestion  from  Bach's  oratorio,  but 
the  narrative  changes  from  one  voice  to  another,  differing  from 
Bach.  The  cast  is: 

Peri — Soprano 

Angel — Alto 

King  of  Gazua — Bass 

Youth-Tenor 

The  Horseman — Baritone 

Maiden — Soprano 

The  angel  (alto)  begins  the  narration  introducing  the 
little  sprite  Peri,  who  expelled  stands  at  the  gate  of  Paradise 
lamenting  her  exclusion.  The  angel  sings: 

"One  hope  is  thine, 

Thou  nymph  of  a fair  but  unerring  line. 

Within  the  book  of  Fate  'tie  written, 

The  Peri  yet  may  be  forgiven. 

Who  to  this  gate  eternal  bringeth 
The  gift  that  is  most  dear  to  heaven. 

Go,  seek  it  now,  redeem  thy  sin, 

'Tis  sv/eet  to  let  the  pardoned  in!" 

The  Peri  goes  forth  to  seek  this  gift,  and  brings  successfully 
the  last  drop  of  a hero 's  blood  shed  for  liberty,  and  the  last 
sigh  of  a love  that  has  sacrificed  life  itself  for  the  beloved 
one;  but  these  gifts  are  rejected  as  insufficient;  At  length  she 
brings  the  first  tear  of  penitence  shed  by  a softened  sinner. 

This  is  aocepted  as  the  gift  most  dear  to  Heaven,  and  the  gates 
of  Paradise  are  unbarred  to  the  triumphant  Peri.  She  has 
wandered  to  India  for  the  hero's  blood,  to  Allah's  throne  for 


£ 


' 


v 


-32- 


the  love’s  sigh  and  to  Syria  for  the  repentant’s  tear.  The 
lyrical  poem  is  beautiful  and  of  especial  literary  value,  but  the 
oratorio  is  a severe  treatment  of  a fanciful  subject. 

"The  Light  of  the  World"-  by  Arthur  Seymour  Sullivan. 

The  words  of  this  lovely  oratorio  are  selected  from  the 
scriptures  by  the  composer  with  the  purpose  of  portraying  the 
life  of  Christ  including  the  nativity,  preaching,  healing  and 
prophesying  of  our  Lord  to  the  end  at  the  triumphant  entrance  into 
Jerusalem.  Thus  it  is  full  of  praise  and  joyfulness. 

The  prophecy  from  Isaiah,  sung  by  the  chorus,  opens 
the  oratorio.  "There  shall  come  forth  a rod  out  of  the  stem  of 
Jesse  and  a branch  shall  grow  out  of  his  roots,  and  the  Spirit 
of  the  Lord  shall  rest  upon  Him  and  shall  make  Him  of  quick 
understanding  in  the  fear  of  the  Lord."  The  tenor  in  recitative 
announces  the  birth  as  he  describes  the  shepherds  in  the  fields 
and  their  subsequent  approach  to  the  manger.  At  the  birthplace 
praises  are  offered  to  the  new-born  Babe  by  the  shepherds  and  at 
times  the  voice  of  Mary,  the  Virgin,  is  heard.  The  next  scene 
shows  Christ  later  in  the  synagogue  where  He  astonishes  the 
scribes  and  learned  men  with  His  profound  understanding.  Scene 
Three  depicts  still  another  important  happening,  that  of  the 
raising  of  Lazarus  from  the  dead.  In  this  scene  is  the  beautiful 
soprano  solo  sung  by  Martha: 

"Lord,  if  Thou  hadst  been  here,  my  brother  had  not  died." 

Jesus  is  warned  that  the  Pharisees  and  priests  are 
becoming  jealous  of  His  fast  increasing  power  and  are  resolved  on 
destruction.  Jesus  disregards  the  warning  and  enters  Jerusalem 
amid  the  praises  of  his  converts.  Men,  women  and  children  all 


-35- 


welcome  Him  as  King  and  Son  of  David.  The  children  offer  their 
praise  in  a chorus  all  their  own. 

"Hosanna  to  the  Son  of  David.  Blessed  is  He  that  cometh  in 
the  name  of  the  Lord.  Hosanna  in  the  highest.  Blessed  is  the 
King  of  Israel  than  cometh  in  the  name  of  the  Lord.  Peace  in 
heaven,  and  glory  in  the  highest." 

The  scenes  of  Part  Two  are  all  laid  in  Jerusalem.  The 
Overture  portrays  unrest  and  excitement  caused  by  the  presence 
of  Christ  in  the  city.  However,  He  continues  His  preaching 
before  crowds  of  listeners.  There  is  a discourse  concerning  the 
parable  of  the  sheep  and  goats  and  the  people  express  their 
belief  by  "This  is  the  Christ." 

The  description  of  His  last  suffering  and  death  is  given 
by  the  chorus  up  to  the  last  scene  which  is  at  the  sepulchre. 

Here  the  disciples  resolve  to  follow  in  their  Master's  footsteps, 
fighting  "the  good  fight  of  faith."  They  glorify  God  for  His 
marvelous  gift  sent  down  from  heaven  and  for  the  triumphant  close 
of  their  Master's  life  on  earth. 

"The  Prodigal  Son"-  by  Arthur  Seymour  Sullivan. 

The  story  of  this  short  oratorio  is  taken  entirely 
from  the  scriptures,  supplemented  by  other  passages  of  a reflective 
nature.  Sullivan  himself  in  the  preface  of  the  oratorio  gives 
the  key-word  which  determines  the  treatment  of  this  story. 

Luke  XV: 10  begins  the  oratorio. 

"There  is  joy  in  the  presence  of  the  angels  of  God  over  one 
sinner  that  repenteth."  A second  chorus  from  the  Psalms:  "Like 
as  a father  pitieth  his  own  children,  even  so  is  the  Lord  merciful 


. 


-34- 


to  them  that  fear  him."  And  again  from  Revelations:  "They  shall 
hunger  no  more  neither  thirst  they  anymore;  and  God  shall  wipe 
away  all  tears  from  their  eyes."  After  the  choral  prelude 
expressive  of  the  rewards  of  the  faithful,  the  story  of  the 
Prodigal  begins.  He  is  weary  of  living  under  the  protection  of 
his  father’s  roof  and  is  eager  to  see  the  world  for  himself.  So 
he  asks  for  his  share  as  a son  and  starts  out.  He  becomes 
associated  with  dissipation  of  all  kinds  and  living  becomes  of 
the  lowest.  A verse  from  Isaiah  is  expressive  of  the  condition 
into  which  this  boy  had  fallen. 

"Come,  let  us  eat  and  drink  for  tomorrow  we  die.  Fetch  wine 
and  we  will  fill  ourselves  with  the  strong  drink;  and  tomorrow 
shall  be  as  day  and  much  more  abundant.  Let  us  eat  and  drink." 
This  is  sung  by  the  chorus  with  a tenor  solo.  Throughout  this 
entire  number  is  this  rocking  accompaniment  figure: 


Then  follows : 

"Woe  unto  them  that  rise  up  early  in  the  morning  that  they 
may  follow  strong  drink,  that  continue  until  night  till  wine 
inflame  them."  A contralto  solo  further  adds  to  the  feeling 
already  gathered  against  such  living.  "Love  not  the  world,  nor 
the  things  of  the  world."  (John  i i ; 7 ) 

The  story  continues  recounting  the  end  which  all  such 


dissipation  comes  to.  The  Prodigal  son  is  so  far  fallen  that  his 


■ 


■' 


-35- 


only  food  is  the  husks  that  the  hogs  throw  aside.  Forsaken  and 
entirely  alone,  his  only  thought  is  home,  for  no  other  place  is 
left.  There,  the  servants  have  bread  enough  and  even  to  spare. 

So  the  scriptures  describe  his  return:  "And  he  arose  and  came  to 
his  father,  but  when  he  was  yet  a great  distance  his  father  saw 
him,  and  had  great  compassion,  and  ran  and  fell  on  his  neck  and 
kissed  him.”  Luke  XV:20.  Here  the  chorus  expresses  the  jubilation 
which  is  in  the  heart  of  the  parent  and  the  returned  wanderer. 

First  from  the  Psalms:  ”0  that  men  would  praise  the  Lord  for  His 

goodness  and  declare  the  wonders  that  He  doeth  for  the  children  of 
me."  The  tenor  adds  another  bit:  "No  chastening  for  the  present 

seemeth  to  be  joyous  but  grievous;  nevertheless,  afterward  it 
yieldeth  the  peaceable  fruit  of  peace,”  An  unaccompanied  quartet 
makes  the  last  appeal,  this  time  to  the  listeners:  "The  Lord 

is  nigh  unto  them  that  are  of  contrite  heart  and  will  save  such 
as  be  of  an  humble  spirit." 

The  oratorio  closes  with  a verse  from  Isaih  LXiii:  "Thou, 
0 Lord  art  our  Father  and  Redeemer.  Thy  name  is  everlasting." 
Hallelujah.  Amen. 

"St.  Peter"-  by  John  Knowles  Paine. 

The  words  of  this  oratorio  are  taken  exclusively  from 
the  New  Testament  with  the  exception  of  three  chorals.  The  text 
is  arranged  by  the  composer,  telling  the  story  of  the  Ascension 
and  Pentecost,  with  Peter  in  the  foreground.  The  oratorio  is 
divided  into  two  parts  and  four  divisions: 

Part  I) (a)  The  Divine  Call 

)(b)  The  Denial  and  Repentance 


' 


-37- 

the  twenty-fifth  chapter  of  Matthew,  "Verily,  I say  unto  you, 
that  this  night  before  the  cock  crows,  thou  shalt  deny  me  thrice." 
Immediately  following  is  the  comforting  tenor  solo  on  the  verses 
"Let  not  your  heart  be  troubled, " and  "Peace  I leave  with  you" 
from  John  XV. 

The  story  of  the  denial  is  divided  so  that  each  character 
is  given  separate  rendition.  The  role  of  St.  Peter  is  taken  by 
the  Bass  soloist.  Following  the  denial  itself,  an  orchestral 
interlude,  "The  Lament"  ushers  in  a solo  from  the  Psalms  express irg 
Peter's  bitter  anguish,  "0  God,  my  God,  forsake  me  not!  Turn 
Thou  unto  me  and  have  mercy  upon  me,  for  I am  disolate  and 
afflicted.  0 Lord,  Pardon  mine  iniquity,  for  it  is  great.  0 
keep  my  soul  anddeliver  me,"  The  chorus  sings  three  great 
consolations,  comforting  Peter  and  those  touched  by  the  agony 
of  his  cries.  One  from  Revelat ions, "He that  overcometh  shall 
receive  a crown  of  life"  and  another  from  John,  "The  darkness  is 
past,  and  true  light  now  shineth.  The  last  is  given  to  the 
contralto  soloist. 

Part  Two  opens  with  a chorus  which  forecasts  a good 
deal  of  the  story.  "The  Son  of  Man  was  delivered  into  the 
hands  of  sinful  men;  He  was  crucified,  and  the  third  day  He 
arose  again."  Luke  XXIV-7 

The  disciples  are  endowed  with  the  commission  to  "Go 

ye  and  teach  all  nations and  with  the  eleven  Peter"  went 

forth  to  preach,  the  Lord  watching  with  them." 

The  last  division  answers  the  world-wide  question 
which  is  asked  by  the  chorus,  "What  shall  we  do  to  be  saved?", 
and  Peter  sings  what  might  be  called  practically  a sermonette 


-38- 

embodying  the  coming  of  the  Lord:  "When  the  wicked  shall  be 
oppressed"  and  "everyone  that  calleth  on  the  name  of  the  Lord 
shall  be  saved."  He  tells  of  the  glorification  of  the  Son  of 
God  by  His  death  and  resurrection  and  of  His  place  at  "the  right 
hand  of  God."  Again  the  chorus  asks  "What  shall  we  do  to  be 
saved?"  And  at  last  comes  the  answer,  "Repent  ye,  and  be 
baptized."  The  chorus  responds  in  a soft  voluntary,  "Beloved, 
let  us  love  one  another;  for  love  is  of  God."  The  oratorio 
finishes  with  a passage  from  Revelations,  "Great  and  marevllous 
are  Thy  works.  Lord  God  Almighty." 

"The  Rose  of  Sharon"-  by  Alexander  C.  MacKenzie. 

This  oratorio  nearly  approaches  the  secular  cantata; 
however,  since  the  story  is  woven  around  a character  of  the  Old 
Testament,  King  Solomon,  the  oratorio  is  placed  in  its  proper 
category.  The  story  is  selected  and  written  by  Sir  Joseph 
Bennett.  The  characters  are: 

The  Sulam it e— Soprano 
A woman — ’Contralto 
The  Beloved — Tenor 
King  Solomon-Bar it one 
An  Elder — Bass 

The  story  is  divided  into  three  parts  including  the 
flight,  capture  and  return  of  the  "Sulam it e"  or  the  "Rose  of 
Sharon."  Sulamite  is  happy  with  the  love  of  the  "Beloved."  He 
owns  rich  fields  and  vineyards  in  the  region  of  Sharon  which  he 
tends.  One  morning  King  Solomon  rides  through  the  village  with 
his  company  and  struck  by  the  dusky  but  delicate  beauty  of  the 


I I m 


-39- 

maiden,  she  is  forced  to  join  the  king  in  his  chariot  amid  the 
cheers  and  encouragement  of  the  people. 

Part  Two  opens  at  the  king's  palace  where  the  Sulamite 
amid  queenly  splendors  since  she  is  the  king's  favored.  Her 
only  consolation  and  comfort  is  singing  the  Twenty-third  Psalm 
which  is  a beautiful  and  lyrical  soprano  solo.  The  women  of  the 
palace  chide  her  for  her  loyalty  to  the  "Beloved”  and  invite  her 
to  see  the  procession  of  the  king  with  the  Ark  of  the  Covenant. 
This  has  no  attraction  for  her  and  she  mutters  over  and  again 
"My  Beloved  is  mine,  and  I am  his."  King  Solomon  enters  and 
sings  a beautiful  ode  to  her  charms  offering  her  more  riches  and 
splendor  but  to  no  avail.  Finally,  weary  of  her,  the  king  sends 
her  home  to  the  fields  and  pastures  of  her  people. 

Part  Three  presents  the  welcome  of  Sulamite  and  the 
thanksgiving  of  the  villagers  although  they  were  the  ones  who 
encouraged  Sulamite  to  leave.  She  is  reunited  with  her  lover 
while  she  sings: 

"Set  me  as  a seal  upon  thine  heart, 

As  a seal  on  thine  arm." 

The  chorus  closes  with  a tribute  to  the  constancy  of 

love, 

"For  the  flame  of  love  is  as  fire 
Even  the  fire  of  God. 

Many  waters  cannot  quench  it. 

Neither  can  floods  drown  it." 


